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The Evolution of Fashion Illustration

Gina Moyer11/17/2011ILL 265 Dacey

You can tell a lot about a person by how they dress, but can the same method be applied when analyzing an era? Fashion illustration has the dexterity to freeze a moment in history through the lenses of artistic style, attitudes reflective of the time period, and the latest trends in fashion, which has its own set of connotations. Although many have appreciated the female form through illustration, fashion illustration brings a new perspective by combining these factual elements in a manner that borders on fantasy. It is this juxtaposition that has always fascinated me and inspired my research of the evolution of fashion illustration throughout history. Going back as far as 150 years, I identified the most influential illustrators of each decade by exploring who and what influenced them, what they contributed to the field, and why their contributions were important.

1850-1900 Although the title of the first true fashion illustrator is attributed to Wenceslaus Hollar, who began working in London in 1640, other prominent fashion illustration figures are few and far between up until Giovanni Boldini emerged.1 Boldini (1842-1931) was known as the most fashionable portrait painter in Paris during the late nineteenth century, but in 1933, Time magazine dubbed him Master of the Swish due to his flowing style of painting.2 In the beginning of his career as an artist, Boldini learned from his father, religious painter Antonio Boldini, and then traveled to Florence to study with the Macchiaioli school. He was also influenced by impressionism, specifically Degas, John Singer Sargent, and Paul Helleu to come up with his own style which is still eminent in fashion illustration today. Boldini

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1 Barnes, Colin. The Complete Guide to Fashion Illustration (Cincinnati: North Light Books, 1988), 10.

2 Giovanni Boldini Biography. Accessed Nov 8, 2011. http://www.giovanniboldini.org/.

Giovanni Boldini, Spanish Dancer at the Moulin Rouge, circa 1905, oil on canvas.

used swift, bold brushwork and elongated his subjects to make them more elegant and flattering (as seen in Spanish Dancer at Moulin Rouge). Although he is renowned as a portrait painter, his emphasis on clothing and rendering fabrics puts him in the forefront of important fashion illustrators. At the same time that Boldini was making an impact in Europe, Charles Dana Gibson (1867-1944) was establishing the Gibson girl as Americas ideal sweetheart.3 Gibsons intentions may have been to draw a pretty face, but in turn he instituted a fashion icon and a standard of what beauty was throughout 1890-1900 in America.4 His pen and ink drawings of women documented the fashions of the time, reflected a womens position in society, and demonstrated current styles in art with his painterly assurance in pen and ink (as demonstrated in Picturesque America, Anywhere along the coast. Gibson was one of the first to define his own ideal look, for the female model, a practice that is utilized by nearly all fashion illustrators today.

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3 Reed, Walt. The Illustrator in America 1860-2000 (New York: The Society of Illustrators, 2001), 75.

4 Blackman, Cally. 100 Years of Fashion Illustration (London: Laurence King Publishing Ltd, 2007), 8.

Charles Dana Gibson,

Picturesque America, Anywhere

along the coast, Life Publishing Co.,

1906

1900-1910 Circa 1909 began the golden years of fashion illustration due to magazine and advertisers dependence on illustrators.5 One of these illustrators was Paul Iribe (1883-1935). Thanks to the recent revolution of color printing, Iribes drawings utilized bright washes of color (using a hand-coloring process called pochoir) influenced by Fauvism, and flat planes borrowed from Japanese prints.6 His style of illustration attracted the attention of Paul Poiret, a daring new French designer who saw potential in Iribes streamlined female silhouette. In 1908, Iribe was asked to draw Poirets Les Robes de Paul Poiret collection.7 Iribes half-profile and back view positions against black and white backgrounds had never been tried before and therefore shocked the public. He quickly became an international sensation.

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5 Barnes, The Complete Guide to Fashion Illustration, 14-15.

6 Fashion Illustration. Accessed November 6, 2011. http://jewelryaccessories.com/fashion-illustrators.html.

7 Blackman, 100 Years of Fashion Illustration, 10.

Paul Iribe, 1908. Left: Les Robes de Paul Poiret (Plate III), pochoir.

Another illustrator making a splash in France was Georges Barbier (1882-1932), who was the go-to fashion illustrator for trendiest designers of the time (including Poiret).8 Barbier took most of his inspiration from the Art Nouveau movement which had blossomed during the 1890s. The Art Nouveau style manifests in all of his drawings, evident in the graceful curves, exotic gold trims, and flat Japanesque color washes. Unlike Iribe, Barbier used full color in his illustrations which were mostly prints. Although he was also adept in book illustrations, costume designs, jewelry, glass, and other arts, his fashion illustrations are still legendary and progressed into the birth of art deco style.

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8 Fashion Illustration.

George Barbier, Jean Paquin Gown, La Gazette du bon ton,pochoir print, 1914

1910-1920

Shortly after Iribe and Barbier, fellow Frenchman Georges Lepape (1887-1971) illustrated Paul Poirets designs (Les Choses de Paul Poiret) with a fervor that reflected the excitement for the new decade.9 Lepape studied at the Ecole des Beaux-Arts in Paris, and was influenced by Orientalism and the Ballets Russes, which ironically, Barbier made

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9 Barnes, The Complete Guide to Fashion Illustration, 14-15.

Georges Lepape for La Gazette du Bon Ton, print, 1912.

illustrations for.10 Lepapes work utilized vibrant colors and a pronounced curvilinear style. Despite the fact that he used Japanese-influenced flat washes of color for his prints, his work was less clean and precise than Iribe or Barbiers. Lepape did over 100 covers for Vogue magazine, which combined with his poster and book designs made him perhaps the best known illustrator of the period. The self-reliant, nonchalant aura of the women in his illustrations was the beginning of an attitude in womens fashion that continues today. Coles Phillips (1880-1927) also brought something new to fashion illustration in the 1910s, but rather than attitude, it was a groundbreaking new rendering technique. Phillips method involved blending the subject into the background by using the same pattern or color on the clothing as the background, a trademark that was dubbed the Fadeaway Girl.11 As an American, Phillips was less impacted by the Art Nouveau movement in Europe, so instead of using flat washes of color, he used highlights and shadow to create a poster-like effect that segued seamlessly into fashion advertising and magazines. Coles Phillips legacy is carried on by fashion illustrators who still popularize the Fadeaway Girl technique today.

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11 Reed, The Illustrator in America 1860-2000, 154.

Coles Phillips, Good Housekeeping Magazine cover, print, 1913.

1920-1930 World War I (1914-1918) marked a major transition in fashion, art, and a shift of societal roles where women were no longer the objects of adornment. The emancipation of women revived a new romanticism in twenties fashion12. Through this transition, fashion illustrator Romain de Tirtoff (1892-1990) rose to the top with his imaginative art deco style illustrations13. Tirtoff, known exclusively as Erte (created from the French pronunciation of his initials) was born in St. Petersburg, but after moving to Paris was quickly enveloped in the world of fashion. Coming from an aristocratic family, while growing up Erte was exposed to theatre and ballet which heavily influenced his work and remained his lifelong passion.14 His over the top theatrical style

defined the art deco look. Like Iribe, Barbier and Lepape, Erte also began work with Poiret, however after signing a ten year exclusive contract with Harpers Bazar in 1915, he became primarily known for his magazine covers. Erte is considered the leading fashion illustrator of his time worldwide.

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12 Barnes, The Complete Guide to Fashion Illustration, 15.



Erte, Harpers Bazar, Print. November 1920.

Edouard Benito (1891- 1981) was another fashion illustrator who was ready to embrace the new era. Growing up in Spain, Benito was especially inspired by cubism, as well as the constructivism movement.15 This developed his signature highly stylized, geometric approach to fashion illustration. After moving to Paris, Benitos portraits and illustrations convinced Paul Poiret to bring him to Conde Nast where he was appointed to head illustrator of both Vogue and Vanity Fair magazine for the next 20 years. After working only six years at Conde Nast (1926), Benito established a trademark fashion figure with an oversized head and long neck (which is still favored is fashion illustration today) like African sculptures. Benitos innovative magazine covers served to bridge the Art Deco and Modernist movement with graceful streamlining.

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Benito, Vogue, Print, 1926.

1930-1940 Despite the fact that French fashion illustrators dominated the field through the 1920s with clean prints and a distinct Art Nouveau and Art Deco influence, American illustrator Carl Oscar August Erickson (1891-1958), took the fashion illustration world by storm by introducing a totally new American aesthetic.16 The emancipation of womens fashion in the twenties gave way to a new romanticism that inspired loose brushwork, experimental line, and varied washes of color.17 Without the constrains of metal prints, Erickson, who became exclusively known as Eric, took fashion illustration back to paint with brilliant variation of line, superb draftsmanship, and a distinct seemingly spontaneous feel that is still mimicked by designers today.18 Erics effortless paintings in fact took dozens of trial sketches to achieve, and he was pertinacious about always studying a live model while working. Because Eric himself dressed the part and had a great understanding of fashion, he brought a taste-level to his work that gave him an edge over the other illustrators of the time. He dominated the fashion illustration industry for over 35 years gracing the covers of Vogue and becoming known for his work for Coty cosmetics. Besides his signature style, Eric is known for popularizing the cinched-in waist in his drawings, as seen in the above illustration for American vogue.19

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Eric, Vogue, 1938

Another Illinois-native fashion illustrator during the 1930s was Ruth Sigrid Grafstrom (1905-1986), who began appearing in American Vogue in 1933.20 Even though Grafstrom was an American, Vogue once commented that Ruth Grafstrom acknowledges her debt to Matisse, due to fauvist French painter Henri Matisses obvious influence on her work. Graftstrom adapted Matisses expressive, painterly aesthetic that was refreshing after the graphic approach of French fashion illustrators through the twenties. Similar to Eric, Grafstrom contributed a more free-flowing, loose quality to her illustrations that distinguished her work on the covers of Vogue, the Delineator, Cosmopolitan, and Womans Home Companion.21

1940-1950 1939 marked an abrupt end to the golden years of fashion illustration when Vogue magazine began replacing illustrations on their covers with photographs due to a craze of avant-garde photographers.22 As explained by Laird Borrelli in her book Fashion Illustration Now,

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20 Ruth Sigrid Grafstrom, The Fashion Model Director-FMD, accessed Nov 11, 2011, http://www.fashionmodeldirectory.com/designers/ruth-sigrid-grafstom/.


22 Barnes, The Complete Guide to Fashion Illustration, 16, 20.

Coty, Perfumes and Face Powder (1933) Grafstrom

Fashion Illustration has gone from being one of the sole means of fashion communication to having a very minor role. The first photographic cover of Vogue was a watershed in the history of fashion illustration and a watershed mark of its decline. Photographs, no matter how altered or retouched, will always have some association with reality and by association truth. I like to think of them [fashion Illustrations] as prose poems and having more fictional narratives. They are more obviously filtered through an individual vision than photos. Illustration lives on, but in the position of a poor relative to the fashion.

Despite the fact that magazines were becoming less interested in fashion illustration, Rene Bouche (1905-1963) found plenty of work in fashion advertising. After developing his skills as an illustrator at Vogue beginning in 1938, Bouche moved on to clients such as Elizabeth Arden, Saks Fifth Avenue, and Helena Rubenstein.23 Bouche was known for his quality draftsmanship using an unusual combination of conte and wet-in-wet watercolor. Born in Czechoslovakia and trained in Paris, Bouche brought a unique artistic flair and technique with his careful, sparing use of line which is copied in a majority of fashion illustrators work today. At the same time that Rene Bouche found a niche in advertising, Rene Gruau (1909-2004) also reached the pinnacle of his career in the mid 1940s when

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Bouche, Vogue cover 1953, conte and watercolor

he was forced away from magazine work.24 Gruau, who was born in Italy, interpreted the Art Nouveau style of Henri de Toulouse-Lautrec and Alphonse Mucha, as well as Oriental influence, to create bold, yet minimalist illustrations that were perfect for advertising.25 Gruau may have initially simplified his designs to be easier to reproduce on the printing press, but that only intensified their impact. As evident in his cover for International Textiles (as seen on the right). Today, Gruaus legacy lives on by continued praise from the top fashion illustrators of today, and as one of the first artists to be identified with advertising (most notably for Christian Dior).

1950- 1960 By the 1950s, fashion illustration was com-peting not only competing against photography in mag-azines, but also with television in the advertising field.26 According to Susan Mulcahy, author of the 2008 book, Drawing Fashion: The Art of Kenneth Paul Block, Kenneth Paul Block (1924-2009) was responsible for keeping fashion illustration alive.27 Block graduated from Parsons School of Design, dreaming to become a fashion

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27 Dennis Hevesi, Kenneth Paul Block, Whose Illustrations Captured Fashions Elegance, Dies at 84, The New York Times, April 30, 2009, Accessed November 8, 2011, http://www.nytimes.com/2009/05/01/arts/design/01block.html.

Rene Gruau using Coles Philips fade-away technique, cover of International Textiles, 1954

illustrator since childhood. Similar to Eric, Block was always in vogue himself, known for his smart neckties and vibrant jackets. Blocks own look was reflected in his work through use of brilliant colors rendered with a fluidity reminiscent of Impressionism. Although acrylic paint had just been introduced to the art world, Block preferred to work in charcoal to capture the gesture of his subjects, which to him was the essence of illustrating style. Block became renowned as the primary illustrator for Womens Wear Daily and W magazine from the mid 1950s to the cease of fashion illustration in these publications almost 40 years later. Designer Isaac Mizrahi states in Drawing Fashion: The Art of Kenneth Paul Block, More than any single designer, he gave New York fashion its sophistication. Because he drew Babe Paley and Jackie

Kennedy a certain way, they became what he had envisioned.

Even though fashion illustrations were rapidly waning during the 1950s, Canadian painter Irwin Crosthwait (1914-1981) still managed to merit his way onto the pages of Harpers Bazar, the New York Times, and the Herald Tribune.28 Crosthwait began his career in art as a abstract painter commended by Picasso and Fernand.29 After receiving training at the Sir George Williams College and Pratt Institute, Crosthwait established a powerful painting style with the use of bold, colorful brushstrokes. After traveling to Paris in 1946, Crosthwait was introduced to fashion and implemented his own rules in his fashion illustrations. His signature style was loose, almost on the verge of scribble, and never lacking in imagination.

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29 Penticton Gallery, Irwin Crsothwait (1914-1981), Accessed Nov 10, 2011, http://www.pentictonartgallery.com/scms.asp?node=214.

Illustration on Babe Paley, Kenneth Paul Block, 1964

1960-1970 Just before the 1960s began, Erics death in 1958 (exacerbated by Bouches death five years later) marked the end of an era of illustration as a major form of communication in glossy magazines.30 The social and cultural transition that occurred at the beginning of the decade also gave way to a rebirth of expression in the arts. As pop music, film, and photography gained popularity, Caroline Smith managed to make a comfortable living as a fashion illustrator by incorporating 1960s trends rather than competing with them. Using 1960s Pop Art inspired pattern, geometric shapes, bright colors, and symbols such as the dolly bird heart-painted face, Smiths work was truly a mirror image of its time.31 Her 1960s interpretations earned her a place on the pages of Harpers Bazar, Queen, Elle and Cosmopolitan magazine. Bobby Hillson was another exception to the taboo of illustrations in magazines during the 1960s. She made herself a name in fashion by providing fashion runway illustrations for the press before photographers were allowed to photograph catwalk shows.32 The success of these drawings procured a place for Hillson in Vogue, where she became a full time illustrator.33 Even after the 1960s was over, Hillsons work continued to have an unmistakeable sixties feel. Her drawings embodied the decade with faces inspired by sixties model icon Twiggy Lawson, expert application of pattern, and uncomplicated use of line. After Kenneth Paul Block and Irwin Crosthwait had demonstrated a loose method of fashion illustration in the 1950s, Hillson went in the opposite direction by re-simplifying illustrations with careful line work and using only black and white.

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32 Mrs. Textiles, Bobby Hillson: Biba Girls, Fashion and Textile Education, May 13, 2011, Accessed November 12, 2011, http://mrstextiles.com/?p=373.33 Blackman, 100 Years of Fashion Illustration, 223.

Irwin Crosthwait 1955 exhibiting his signature sketch-like style

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Above: Caroline Smith, crochet minidress, The Queen, 1965Right: Bobby Hilson, Unique Work, Untitled, 1968

1970-1980 Following the wave of pop culture in the sixties, the arts in the seventies focused on delivering a quick and commanding message.34 According to Colin Barnes, author of The Complete Guide to Fashion Illustration, this was due in part to the influence of punk music, which challenged artists to be more candid in their point of view. This is exactly what Puerto Rican native Antonio Lopez (1943-1987) was able to do as a fashion illustrator in the 1970s. Lopez, who became know exclusively as Antonio by how he signed his work, began his journey into the fashion world by attending the Fashion Institute of Technology.35 While he lived in New York, Antonio worked as a sketch artist and was inspired by pop artist Roy Lichtensteins originality as an artist.36 After moving to Paris in 1969, Antonio found his voice and established himself as one of the most influential fashion illustrators in history (as stated by Cally Blackman in her book 100 Years of Fashion Illustration. Antonios eclectic ensembles were characterized by use of comic-book worthy colors, strong women, and 70s

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Left: Antonio, St. Tropez, French Vogue, 1970, pentel, collage and overlay film.

Right: Eric Stemp, Beach Set, Simpsons catalogue, 1967

modernity37. Despite experimentation with many mediums including pencil, pen and ink, charcoal, watercolors and even Polaroid film, all of Antonios illustrations were permeated by his unmistakeable style as an illustrator. Published in Vogue, Harper's Bazaar, Elle, Interview and The New York Times during a time when fashion illustration was nearly extinct in magazines, JewelryAccessories.com attributes Antonio for Resurrecting the almost forgotten art of fashion illustration in magazines. Perhaps no one was able to rival Antonio during his prime, but Eric Stemp (1924-2001) still managed to make his mark on the fashion illustration industry. While other illustrators tried experimenting with innovative styles and techniques to make their way into the pages of magazines in the 1970s, Stemp continued the customary practices of artists trained in the life class.38 Inspired by posters of the 1940s, the British illustrator originally wanted to become a poster designer until his freelance fashion illustration career took off.39 Working against trends did open a few opportunities for Stemp in magazines (such as Harpers Bazaar and British Vogue), he became known for his advertisement drawings for the unisex clothing store, Simpsons. Stemp bent the rules of following the latest trends in the illustration field, which proved to other illustrators that trendiness was not necessarily the recipe for success in fashion illustration.

1980-1990 By the 1980s, the simplified shapes and impression of the Art Deco and Art Moderne movements of the 1920 came back in style.40 In fashion especially, a minimalist approach to drawing replaced much of the need for technical skills, placing emphasis on expression and exaggerated style.41 Two notable fashion illustrators of the 1980s, Stephen Stipelman and George Stavrinos, most definitely utilized a minimalist approach. However, their adept draftsmanship elevated the 80s minimalist style to create work that was remarkable by the standards of any decade.42 Stephen Stipelman, author of Illustrating Fashion Concept to Creation, became celebrated as a fashion illustrator when he was chosen by John Fairchild to illustrate for his trade newspaper Womens Wear Daily (which is today

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39 Wind River Studios, Eric Stemp, Unicover Coporation, Accessed Nov 10, 2011, http://www.artworkoriginals.com/JAAAAA5R.htm.



42Cyril Foiret, George Stavrinos Fashion Illustrations, Trendland: Fashion Blog & Trend Magazine, 24 June 2011, http://trendland.net/george-stavrinos-illustrations/#.

considered by many to be fashions equivalent of the Bible).43 In the introduction of his instructive drawing book, Stipelman pays homage to the renowned illustrators who helped shape fashion illustration and inspire him. Among the few names he drops are Eric, Bouche, Kenneth Paul Block, and Antonio.44 Stipelman was able to take tips from these greats, but still developed his own distinct figure using a variety of media (including but not limited to pencil, marker, powdered eye shadows, pen and ink, watercolor, and gouache) characterized by a long exaggerated silhouette, sketch-like line quality, and simple faces. He is an expert at drawing the croquis (a french word for a working sketch), and currently sharing his expertise to students at the Fashion Institute of Technology. George Stavrinos (1948-1990) became famous for his high contrast drawings and technical proficiency using pencil.45 Stavrinos, who studied graphics in college, states that he fell into the world of fashion due to his interest in drawing figures. Because his drawings

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44 Steven Stipelman, Illustrating Fashion: Concept to Creation (Third Edition), (New York: Fairchild Books, 2011), xi-xii, xv, 21.

45 Barnes, The Complete Guide to Fashion Illustration, 82, 148.

Below Left: Stipelman, sketch from his new latest book Illustrating Fashion Concept to Creation (third edition) 2008 Below Right: Stavrinos

involve painstaking detail, he gravitated towards pencil and eventually decided to work with it exclusively. According to Cyril Foiret of Trendland (Fashion Blog & Trend Magazine), ...As a fashion artist, he created an arresting new look that set the pace for his contemporaries and still continues to be an influence. 46 Stavrinos left a legacy for his work in advertising for Bergdorf Goodman, and illustrations for the New York City Opera, New York Times, GQ and Cosmopolitan.

1990-2000 By the 1990s, the explosion of the computer and proclivity towards photography continued to diminish the field of fashion illustration before a feeble comeback in the 2000s.47 The two most notable fashion illustrators of the decade are most certainly Brittish illustrators David Downton (born 1959) and Graham Rounthwaite (born 1970). Downtons career in fashion illustration took off from a love for drawing during his childhood.48 After studying at Canterbury University, Downton took any illustration jobs he could find, stooping as low as illustrating math textbooks, until in 1996 he was given the opportunity to draw fashion for the Financial Times. Immediately, Downton fell in love with fashion and

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46 Cyril Foiret, George Stavrinos Fashion Illustrations, Trendland: Fashion Blog & Trend Magazine, 24 June 2011, http://trendland.net/george-stavrinos-illustrations/#.


48 Blackman, 100 Years of Fashion Illustration, 342-347, 380.

Below: Rounthwaite, advertisement for Levi Jeans, 2000, Adobe Photoshop

worked furiously over the next few years, which is not to say that hes slowed down. He has quickly made his way into fashion history for his exceptional manipulation of space and line using water color, gauche, cut paper, indian ink and acetate overlaying techniques. Downtons client list includes Tiffany & Co, Bloomingdales, Barneys, Harrods, Top Shop, Chanel, Dior, LOreal, Vogue, Harpers Bazaar, V Magazine and the V&A Museum. While Downton utilized traditional fashion illustration mediums, Graham Rounthwaite turned to the computer. Rounthwaite, like Downton, also studied graphic design in college at the Royal College of Art in London. He developed a style of highly detailed illustration style using a computer, which came to a climax for his 100 Adobe Photoshop-generated characters that peopled Levis advertising campaign in the 1990s.49 With this United States campaign, Rounthwaite brought fashion illustration into the modern world of computers. Similar to the inspiration of the 1970s, Rounthwaite is inspired by youth culture, which gives an edge to his work. His digital success has precipitated attention to the world of fashion illustration at large, perhaps generating the increase of fashion illustrators in the 2000s.

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49 Martin Dawber, Imagemakers: Cutting Edge Fashion Illustration. (London: Octopus Publishing Group Ltd, 2004), 9.

Below right- Downton, Valli, 2008. Downton uses Coles Phillips Fadeaway Girl technique successfully

Conclusion Evidently, much can be learned about an era through the lens of fashion illustration. As I researched, I was fascinated by a pattern that emerged between the liberation of society, and the evolution of style. Moving towards the present, fashion illustration has become more and more disposed to exaggeration of form and less about developing artistic skill. Because I am finishing up a course in fashion illustration this semester, I have noticed this shift in teaching technique from the inside. Currently, realistic fashion illustration styles of the past stand out in a sea of attenuated figures making them even more revered than they were in the past when this was a norm. In the field of fashion where whats in is immediately on its way out, innovation is the key to success. Perhaps this is why in todays digital and photographic environment, the creativity of fashion illustration is even more esteemed than in the past. After all the leaps and bounds fashion illustration has taken stylistically over the years, one can only imagine where this art form will be resurrected in the future.

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Bibliography

Books:

Barnes, Colin. The Complete Guide to Fashion Illustration. Cincinnati: North Light Books, 1988.

Blackman, Cally. 100 Years of Fashion Illustration. London: Laurence King Publishing Ltd, 2007.

Dawber, Martin. Imagemakers: Cutting Edge Fashion Illustration. London: Octopus Publishing Group Ltd, 2004.

Reed, Walt. The Illustrator in America 1860-2000. New York: The Society of Illustrators, 2001.

Stipelman, Steven. Illustrating Fashion: Concept to Creation (Third Edition). New York: Fairchild Books, 2011.

Online: The Fashion Model Director-FMD. Ruth Sigrid Grafstrom. Accessed Nov 11, 2011. http://www.fashionmodeldirectory.com/designers/ruth-sigrid-grafstom/.

Foiret, Cyril. George Stavrinos Fashion Illustrations. Trendland: Fashion Blog & Trend Magazine. 24 June 2011. http://trendland.net/george-stavrinos-illustrations/#.

Giovanni Boldini: The Complete Works. Giovanni Boldini Biography. Accessed Nov 8, 2011. http://www.giovanniboldini.org/.

Hevesi, Dennis. Kenneth Paul Block, Whose Illustrations Captured Fashions Elegance, Dies at 84. The New York Times, April 30, 2009. Accessed November 8, 2011. http://www.nytimes.com/2009/05/01/arts/design/01block.html.

JewelryAccessories.com. Fashion Illustration. Accessed November 6, 2011. http://jewelryaccessories.com/fashion-illustrators.html.

Mrs. Textiles. Bobby Hillson: Biba Girls. Fashion and Textile Education. May 13, 2011. Accessed November 12, 2011. http://mrstextiles.com/?p=373.

Penticton Gallery. Irwin Crsothwait (1914-1981). Accessed Nov 10, 2011. http://www.pentictonartgallery.com/scms.asp?node=214.

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